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Wawwy

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  1. Psycho opens with title design by Saul Bass and music by Bernard Herrmann. This is their third collaboration for Hitchcock, including Vertigoand North by Northwest. How does the graphic design and the score introduce the main themes of this film?The title and credits are "broken" and "disjointed", which in a sense mirrors Bates. He, too, is "broken" in a manner of speaking. The lines "cut" through the credits and the letters in the opening credits are "cut". Again, this can be related to way the victims die. The score is composed of string instruments and yet it is NOT a relaxing, peaceful sc
  2. In how many ways does Hitchcock play with or visually manifest the metaphor of “criss cross” or “criss-crossing” in this introductory sequence. [For those who haven’t seen the film yet, the idea of “criss cross” is central idea in this film, a theme Hitch sets up from the opening frames of this film] Be specific.I have never realized how many "lines" there are in this opening scene. Naturally the criss-crossing of the railway lines, but also the distinct tile lines on the floor before the scene moves to the railway lines of the tracks. Also, the "lines" of the horizontal blinds, which even can
  3. 1. In your own words, please describe the effect of watching the POV dolly shots / POV tracking shots in this scene? At the beginning of clip the boys are walking towards the man at the desk, but instead of them simply walking we have a sense that they are being “pulled” towards by the way the men walk towards the camera. As the woman walks toward the boys the camera slides into the boys, which gives us the feeling of her approach and when the camera is on her the camera glides away from her as she approaches the boys. This camera technique gives us the feeling that the boys are shrinking f
  4. 1. How does Hitchcock use montage or expressive editing to add vitality and rhythm to this scene? Lots of use of "montage" in this clip. Slow build-up of piano music as the scene unfolds and the man watches his wife. Clips overlap one another, which shows us who is speaking at the moment, yet clearly shows that the man is more concerned with what his wife is doing. 2. As is the case with a lot of German Expressionist films, in this scene, there are many shots that are very subjective and put us into the psychological mind of a main character. Please note the various techniques Hitchcock
  5. 1. Do you see the beginnings of the "Hitchcock touch" in this sequence? Please provide specific examples. The monocle being out of focus and then the tight shot, clear shot shown through the eyes of the binoculars. Reminiscent of Rear Window and the use of binoculars in that film. 2. Do you agree or disagree with Strauss, Yacowar, and Spoto assessments that this sequence contains elements, themes, or approaches that we will see throughout Hitchcock's 50-year career? Yes, I agree. See above comment. Also, Hitchcock seemed to use blondes quite often in his films and who should "give awa
  6. First, where is Hitchcock in that opening scene? I watched it twice and didn't see him!! Now, I made some observations regarding question three. I noticed the music immediately, which reminded me of the popular "shower scene" in Psycho. Others will have undoubtedly mentioned this and I apologize for heading back to the shower scene once again, but it was what immediately came to mind. The short, staccato beats add to the intensity of the scene. It was very reminiscent of Janet Leigh's death scene. The wide, open mouth in the opening scene of The Lodger clip is clearly screaming and the c
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